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Celebrating the Grand Reopening of the Art Gallery of St. Albert

Vlad Poptamas

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Photo source: artgalleryofstalbert.ca
Reading Time: 3 minutes

 

Funding from the Government of Canada supported a full suite of renovation activities at the Art Gallery of St. Albert, allowing the space to become fully accessible

Today, the Honourable Amarjeet Sohi, Minister of Natural Resources and Member of Parliament (Edmonton Mill Woods), attended the grand reopening of the Art Gallery of St. Albert. Minister Sohi toured the renovated space and delivered remarks on behalf of the Honourable Pablo Rodriguez, Minister of Canadian Heritage and Multiculturalism.

The Department of Canadian Heritage invested $389,201 through the Canada Cultural Spaces Fund in support of this project. The project was also supported through the Enabling Accessibility Fund of Employment and Social Development Canada with funding of $34,000.

The renovations have improved building functionality and accessibility, while preserving the historic look and feel of the building. Modifications include a wheelchair ramp and new entrance, an elevator to access all three floors and a barrier-free washroom. In addition to making the space fully accessible, the Gallery has expanded, now totalling over 6,000 square feet.

Accessible and barrier-free cultural spaces enrich our communities by creating secure, inclusive environments where all Canadians, regardless of background, can access, discover and enjoy cultural programs and activities.

Quotes

“Building and improving cultural spaces helps make communities more vibrant, and helps our incredible artists showcase their work. It is also more important than ever that these spaces be fully accessible to Canadians to visit and use. I congratulate the Art Gallery of St. Albert on the reopening of their newly improved facility. These enhancements and upgrades will enable the Gallery to continue presenting new exhibitions, programs and events for many years to come.”

—The Honourable Pablo Rodriguez, Minister of Canadian Heritage and Multiculturalism

“Since 2000, the Art Gallery of St. Albert has been providing exceptional visual arts experiences for people of all ages, offering innovative programming, and presenting local artists from Alberta and Canada and exhibitions year-round. I am delighted to celebrate the grand reopening of such an important community amenity, and I commend the Gallery on its commitment to accessibility and inclusivity.”

—The Honourable Amarjeet Sohi, Minister of Natural Resources and Member of Parliament (Edmonton Mill Woods)

“The barrier-free renovations to our building and the addition of a new exhibition gallery have transformed it into a fabulous contemporary art space that will serve the community for many years to come. Our thanks to the Government of Canada for its support of this important project.”

—Ann Ramsden, Executive Director, Arts and Heritage Foundation of St. Albert

Quick Facts

St. Albert is a community located northwest of Edmonton and is the second largest city in Alberta’s Capital Region.

The Arts and Heritage Foundation of St. Albert, established in 1998, promotes the visual arts and the natural and human heritage of the community and surrounding district. The Foundation delivers programs, exhibitions and research opportunities, and ensures the preservation of local historic buildings and artifacts.

The Foundation manages the Art Gallery of St. Albert, the Musée Héritage Museum and various heritage sites across the municipality. The Gallery provides enriching educational experiences that celebrate visual culture and artistic achievement through research, exhibition and interpretation.

The Art Gallery of St. Albert is a contemporary public art gallery that has been operating out of the historic Banque d’Hochelaga building since 2000. The building was constructed in 1921, with additions in 1955 and 1966. The building received municipal historic resource designation in 2009.

The Canada Cultural Spaces Fund supports the improvement of physical conditions for arts, heritage, culture and creative innovation. The Fund supports renovation and construction projects, the acquisition of specialized equipment and feasibility studies related to cultural spaces.

The Enabling Accessibility Fund provides funding for eligible capital projects that increase accessibility for people with disabilities in Canadian communities and workplaces, creating more opportunities for people with disabilities to participate in community activities, programs and services, or access employment opportunities. The Art Gallery of St. Albert received $34,000 through the Fund in support of its facility renovations.

SOURCE Canadian Heritage

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Artprice Presents a Ranking of Contemporary Art Museums in France Based on Google Opinions – Methodology and Facts, Which Have Been Legally Verified

Vlad Poptamas

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Artprice Headquarters
Reading Time: 2 minutes

 

Methodology: the Organe Contemporary Art Museum which manages the Abode of Chaos wished to measure the Internet popularity of Contemporary Art Museums in France in as reliable a manner as possible.

After consultation with the statisticians and econometricians at Server Group and Artprice we agreed that only Google’s ‘ecosystem’ (search engine, Google Maps, Google Street View, Google Earth, Google Photos, and others Google applications) is indisputably the only legitimate reference on the Internet, both in terms of the number of users and visibility, but also in terms of reliability with real-time security measures that Google uses to avoid fraud.

Google is the only internet operator to systematically post all the cultural venues of each country all over the world. To date, we are not aware of any Contemporary Art Museum in France that has refused to appear in Google’s applications. In fact, Google is today considered by 97% of the French population as the only player to have replaced the old French directories (white and yellow pages). Opinions posted on Google are not influenced or impacted by Google’s commercial initiatives or those of any third parties. From that point of view, Google’s services are totally unique on the Internet.

The methodology adopted involved identifying all Contemporary Art Museums, whatever their location, with more than 500 opinions/reviews to their names. This high number avoids any distortions that could be associated with smaller samples.

This ranking, legally verified by a notary public, may not under any circumstances be Interpreted as a qualitative ranking; it only provides an econometric analysis of the massive flows of information from Google’s databanks. All the museum names mentioned in this ranking, and in particular the description of Google’s ecosystem, are the property of their respective authors.

CITY

NAME

RANKING

REVIEWS

Saint-Romain-au-Mont-d’Or

The Organe Museum – The Abode of Chaos

4.6

1,171

Paris

The Pompidou Center

4.4

32,483

Paris

Louis Vuitton Foundation

4.4

7,721

Paris

Palace Tokyo

4.4

5,141

Paris

Cartier Foundation for Contemporary Art

4.4

1,451

Bussy-Saint-Martin

FRAC Île-de-France – The Castle (Park Rentilly Cultural- Michel Chartier)

4.4

883

Paris

Jeu de Paume

4.4

863

Le Havre

MuMa André Malraux Museum of Modern Art

4.3

1,231

Villeneuve-d’Ascq

LaM, Lille, Métropole Museum of Modern Art, Contemporary Art and Art Brut

4.3

1,161

Strasbourg

MAMCS, Museum of Modern Art of Strasbourg

4.2

1,640

Toulouse

Les Abattoirs – FRAC Occitanie Toulouse

4.2

1,354

Nîmes

Carré d’Art-Museum of Contemporary Art

4.2

585

Vitry-sur-Seine

MAC VAL

4.2

584

Saint-Priest-en-Jarez (Saint-Etienne Métropole)

Museum of Modern and Contemporary Art

4.2

518

Nice

Museum of Modern and Contemporary Art in Nice

4.1

1,723

Lyon

Museum of Contemporary Art

4.1

826

Bordeaux

CAPC art museum contemporary Bordeaux

3,9

1,056

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Artprice: Events Marking Gustave Courbet’s Bicentennial Could Stimulate His Market

Vlad Poptamas

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thierry Erhmann, Collective Work: The Abode of Chaos / La Demeure du Chaos. Yan Pei-Ming (left) and Gustave Courbet (right)
Reading Time: 3 minutes

 

Gustave Courbet was born on 10 June 1819 in Ornans, a small town in Franche-Comté that has been home to the Courbet Museum since 2013. This Monday, to mark the bicentennial of the birth of this major artist (more in terms of Art History than on today’s market…) the museum is opening an exhibition entitled “Yan Pei-Ming face à Courbet” that shows works by the painter of the Origin of the World alongside works by Chinese painter Yan Pei-Ming, who has been living in Dijon since 1980.

Some of Courbet’s self-portraits (The Desperate Man, The Wounded Man) and genre scenes (Burial at OrnansBonjour Monsieur Courbet [The Meeting]) are among the most famous paintings in art history. But Courbet’s œuvre also consists, above all, of a large number of landscapes and hunting scenes. Throughout his life, Courbet continued to paint what he really wanted to paint, true to his origins and to a fundamental attraction to woodland scenes, craggy cliffs and seascapes. It’s these works that make up the bulk of his auction market nowadays.

According to thierry Ehrmann, founder/CEO of Artprice: “Sometimes dark, sometimes radiant, there is something quintessentially contemporary about Courbet’s painting. In 2014, the Fondation Beyeler exhibited his works alongside works by market superstar Peter Doig who claims to have been heavily influenced by Courbet. We also know that Jeff Koons counts among his greatest admirers and also collects his paintings.”

Gustave Courbet’s work has been popular outside France for a very long time. His thirteen best auction results were all hammered in England and the United States and his current auction record – $15.3 million for Reclining Nude (1862) – was set by Christie’s New York in 2015. An exceptional amount for an exceptional painting. Confiscated in 1943 by the Nazi regime, it was returned to the heirs of Baron Ferenc Hatvany 62 years later. It was subsequently shown in the major Gustave Courbet retrospective presented at the Grand Palais in Paris, then the New York MET in 2007/2008.

However, that result was, and has remained, quite exceptional because Courbet’s larger works are extremely rare at auction: less than 2% of his auction lots reach the million-dollar threshold. The core of his market consists of works fetching between $10,000 and $200,000, mostly small oils-on-canvas, landscapes measuring less than a square metre. Courbet’s œuvre is almost entirely painted; only 20 drawings and 9 engravings have been auctioned since 2000, versus 352 paintings.

Like most 19th century artists, Gustave Courbet’s market is relatively immune to Art Market euphoria. But that hasn’t always been the case. His prices have stabilized over the last 30 years after enjoying extremely rapid growth in the 1980s. The successive sales of his painting Lisière de forêt (Forest Edge) (1865) – sold seven times at auction since its creation – perfectly illustrate the evolution of his market:

  • 20 April 1874 – FFr2,400 – Paris
  • 18 June 1917 – Dfl4,500 – F. Mueller, Amsterdam
  • 3 April 1974 – £9,500 – Sotheby’s London
  • 28 November 1988 – £110,000 – Christie’s London
  • 31 October 2000 – $82,750 – Sotheby’s New York
  • 24 October 2006 – $162,000 – Sotheby’s New York
  • 8 November 2013 – $118,750 – Sotheby’s New York

The sales history of this work illustrates three major characteristics of Gustave Courbet’s market:

  1. An exponential increase in prices before 1990, followed by a period of relative and volatile contraction
  2. A geographical shift of his market from Europe to the United States
  3. A progressive acceleration of exchanges with 43, 57, 12, 12, 6 and 7 years between each sale

The most intense period of price growth corresponds to the Impressionist bubble of the 1980s, which economists have linked to the strong growth in the purchasing power of Japanese buyers who focused their acquisitions on European works from the second half of the 19th century and the beginning of the 20th century. It was at this time (29 October 1987) that Japanese collector Michimasa Murauchi acquired Le Chêne de Flagey (The Oak at Flagey) (1864) for $462,000at Sotheby’s in New York. Five years ago, the Courbet Museum in Ornans managed to acquire the work, but it had to pay $5.5 million, i.e. 10 times more than its 1987 price.

The Oak at Flagey is a much larger canvas than Forest Edge (1865), but the difference in price between the two works in the late 1980s ($462,000 for the former, $198,000 for the latter) was much smaller than it later became in 2013 ($5.5 million versus $118,750). Congratulations to Murauchi for making such a superb acquisition in 1987. The following year the price of Forest Edge($192,000) was probably already inflated by the impressionist bubble. Over the past 30 years, the price of this painting has fluctuated, while that of the The Oak at Flagey, on the contrary, has soared.

 

SOURCE Artprice.com

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Artprice: Big Is Beautiful! Expected Record at New York Auction for Louise Bourgeois

Vlad Poptamas

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Giuseppe Bezzuloli (1784 - 1855) - Folly driving the chariot of Love L: 4.8 m; H: 3.4 m.
Reading Time: 3 minutes

 

One of Louise Bourgeois’s six Spider sculptures, measuring more than 7 meters across and 3 meters tall, will be offered for sale at Christie’s on 15 May 2019 in New York. Numbered 3/6 in the series, the work already fetched $28.2 million in 2015 and Louise Bourgeois’s prices have stayed steady since then.

It could become the most expensive artwork by a female artist ever sold at auction.

Like it or not, when it comes to art, size is very important. Giant works fascinate us because they transcend our own scale. Who isn’t impressed by huge paintings like Pablo Picasso’s Guernica (at the Reina Sofía Museum in Madrid) or Veronese’s Les Noces de Cana (at the Louvre Museum in Paris)?” says thierry Ehrmann, Artprice’s Founder/CEO.

In general, an artist’s largest works attract the strongest demand. For equivalent quality, the larger works will almost always be worth more than the smaller works.

This week, Artprice picks out a selection of 10 monumental works auctioned in 2018 in each of the major artistic mediums.

PAINTINGS

Zao Wou-Ki – Juin-Octobre 1985 
10 x 2.8 meters

On 30 September 2018Zao Wou-Ki’s Juin-Octobre 1985 triptych – his largest work still in circulation – caused a major sensation when it was re-offered for sale at Sotheby’s. In May 2005, Christie’s sold the same work in Hong Kong for $2.3 million. Thirteen and a half years later, its value exceeded $65 million, i.e. no less than 28 times its previous value.

Mark Bradford – Helter Skelter I (2007)
10 x 3.65 meters

American painter Mark Bradford had a particularly good year in 2018. In 2017, he represented the United States at the Venice Biennale. But it wasn’t until the first half of the following year that his prices began to inflate rapidly, generating three new auction records.

On 8 March 2018, his Helter Skelter I (2007) came close to $12 million at Phillips in London. This huge piece was a key element in the exhibition Collage: The Unmonumental Picture organized by the New York Museum in New York in 2008.

Osgemeos – It is Supposed to be Raining But… (2008)
2.5 x 2.5 metres

This large format canvas allowed the Brazilian duo of graphic artists to express their art in superb style. Accustomed to large facades, the two street artists have produced a large number of reasonably dimensioned paintings for the market. However, their very large canvases capture all the power of their street art. On 26 June 2018, the painting fetched $132,000 at Phillips in London.

DRAWINGS

Takashi Murakami – Dragon in Clouds-Red Mutation (2010)
18 x 3.6 meters

Takashi Murakami’s imaginary world stands at the crossroads of manga culture and Sino-Japanese mythology. In April 2018, the auction house Council sold one of his three large-scale interpretations of Asia’s most popular mythical creature, the dragon. His colossal drawing – red ink on paper – titled Dragon in Clouds-Red Mutation seduced Chinese collectors in Shanghai, fetching more than $8.8 million.

Giuseppe Bezzuloli – Folly driving the cart of Love 
481 x 344 cm

Commissioned in 1848 to paint the ceiling of the Palazzo Gerini in Florence, Giuseppe Bezzuloli executed this study on the theme of Love and Madness. The final fresco still adorns the ceiling of the famous Tuscan Palace.

Estimated between $50,000 and $80,000, the drawing was purchased for $275,000 at Christie’s in New York on 30 January 2018. Nowadays, very large-scale historical works are extremely rare on the market and this post-Renaissance drawing – which still retains all its power – was a superb acquisition.

SCULPTURE

KAWS – Clean Slate (2014)
5.5 x 5.5 x 7.5 meters

Kaws is currently an in vogue artist par excellence… from New York… to Hong Kong. The American street artist has conquered the international art market with his colorful paintings, his large-scale figurines and his monumental sculptures. Clean Slate (2014) was shown all around the world (Shanghai, Ibiza, Hong Kong and Fort Worth) before being put on sale by Phillips in New York, where it was acquired for nearly $2 million.

Philippe de Buyster (Attrib.) – Vierge de pitié (c.1650-60)
1.6 x 0.5 x 1.3 meters

This 17th century Pietà was one of the very few large-scale Old Master works sold last year. In perfect condition, the terracotta sculpture came from the Chapel of Château d’Autricourt in Burgundy (France). Christie’s sold the piece for $58,000 (including costs) in Paris on 19 June 2018.

Joana Vasconcelos – Betty Boop (2010)
4.1 x 1.5 x 3 meters

This huge high-heeled shoe made of stainless steel pots and concrete is a perfect example of Joana Vasconcelos’s taste for oversize. The Franco-Portuguese artist has never been afraid to invest large places like the Bon Marché department store in Paris or the Palace of Versailles where Betty Boop (2010) was presented in the Hall of Mirrors in 2012.

PHOTOGRAPHY

Gilbert & George – Thirty-Five Locations (2003)
422 x 361 cm

The British duo Gilbert & George is not doing as well on the secondary market as in 2008, but their unique large-format photos continue to fetch very good prices. Consisting of 24 rectangular sections, Thirty-Five Locations resembles a huge stained glass window in black, white and red. It was the largest photographic work sold during 2018 and fetched $150,000 at Sotheby’s in New York (17 May).

MIXED MEDIA

Tracey Emin – Dark Dark Dark (2007)
3.6 x 1.6 x 1.5 metres

In 2007 Artwise commissioned Tracey Emin to customise four Fiat 500s (each unique) for a charity sale. On 5 December 2018 at Phillips’ New Now sale, one of them fetched $8,000. In the catalogue Phillips warned Please note this lot is offered as an art work, and not a motor vehicle…

The use of motor vehicles as an artistic medium may seem bizarre, but several major artists have lent themselves to the exercise in the past. The BMW Art Car project, for example, allowed Andy WarholDavid Hockney and Jeff Koons to completely transform the exteriors of cars.

Copyright ©2019 thierry Ehrmann – www.artprice.com

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SOURCE Artprice.com

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